19.02.2018

Metamorphoses

Written two thousand years ago, this narrative poem remains one of the most widely read works of the Golden Age of Latin literature. It represents the history of the world, from the Creation to Ovid’s times. The story is told through a series of myths, all of which contain the element of bodily transformation. Working together with dramaturge Jelena Mijović, director Aleksandar Popovski has turned this masterpiece of classical literature into a play which depicts life and relations between people as a series of inevitable transformations, the eternal change which can only be achieved through the greatest force of all – love. To achieve his goal, Popovski had help from his permanent assistants from the Numen Design group as well as from a team of extremely creative actors, a stellar cast which includes Nebojša Glogovac, Nataša Tapušković, Nikola Đuričko, Dragan Mićanović, Tamara Vučković, Goran Šušljik, Marija Vicković, Radovan Vujović, Nada Šargin and Jelena Đokić.

“…play by Popovski is an incisive, rich mosaic of trials and tribulations of love which appear as metaphors of life itself. Vulnerability, elusive emotions and love are a constant source of inspiration; love never dies and remains ever present, even in this day and age of hideously destructive materialism.” (POLITIKA)

This production of Metamorphoses won three Sterijino Pozorje awards at the Sterijino Pozorje Festival in Novi Sad in 2010: acting (Nada Šargin), set design (NUMEN) and stage movement (Dalija Aćin); two Ardalion awards at 15th Yugoslav Theatre Festival in Užice: acting (Tamara Vučković) and set design (NUMEN), as well as the Audience Award for best production at the festival; three awards at the 6th Festival of Mediterranean Theatre “Purgatorie” in Tivat: best production and acting (Jelena Đokić and Nebojša Glogovac). For their performances in this production, actors Radovan Vujović and Nikola Đuričko both won Zoran Radmilović awards as well as prizes awarded by the Dnevnik daily newspaper.

ORIGINAL CAST:

Nebojša Glogovac

Tamara Vučković

Nikola Đuričko

Jelena Đokić

Goran Šušljik

Nada Šargin

Radovan Vujović

Marija Vicković

Premiere: 9 June 2010

Duration: 1hr 55mins, no interval

 

Director ALEKSANDAR POPOVSKI

 

Dramaturg                Jelena Mijović
Set Design                Numen
Costume Design      Jelena and Svetlana Proković
Music                                     Silence
Choreographer       Dalija Aćin
Speech                     Ljiljana Mrkić-Popović
Production ManagerAna Ćurčin

 

Cast:

NEBOJŠA GLOGOVAC

TAMARA VUČKOVIĆ

NIKOLA ĐURIČKO

DRAGAN MIĆANOVIĆ

JELENA ĐOKIĆ / NATAŠA TAPUŠKOVIĆ

GORAN ŠUŠLJIK

NADA ŠARGIN / MILENA VASIĆ

RADOVAN VUJOVIĆ

MARIJA VICKOVIĆ

Dancers:

ANA DUBLJEVIĆ

MILICA PISIĆ

LUKA LUKIĆ

VLADIMIR ARSENIJEVIĆ

19.02.2018

A Suspicious Person

First great comedy by a famous comic playwright and one of the most popular, funniest and most daring plays originally written in Serbian.

The country seemed to be undergoing a period of change, new traditions and habits replaced old ones, influences from the East and the West vied with those from the North and South, dynasties came and went, governments replaced one another, borders have been redrawn and yet this insightful and cruel play by Nušić about the ambitions and fears of upwardly mobile civil servants in a small provincial town has never stopped making people laugh at the expense of others as well as their own.

This production, directed by Jagoš Marković with the stellar cast of the Yugoslav Drama Theatre, coupled with Nušić’s keen sense of humour, brings to light unforgettable images of rancid and stale lives of small town Serbia.

“This production of the Suspicious Person is a well organised burlesque (with a romantic finale), it is extremely funny and extremely intelligent, making audiences laugh without feeling embarrassed.” (DANAS)

“You carry on smiling even after you have left the theatre, (…) the smile which confirms that it is still worth going to the theatre where you can see consummate skill, knowledge, concepts and an excellent grasp of structure…” (NOVI MAGAZIN)

Nebojša Glogovac’s portrayal of Yerotiye is impeccable. He is currently one of the best actors in former Yugoslavia…” (NOVOSTI, Croatia)

“Dear audiences, things could not be clearer; the latest production of the Yugoslav Drama Theatre is simply unmissable.” (BLIC)

ORIGINAL CAST:

Jerotije Pantić Nebojša Glogovac
Anđa Jelisaveta Sablić
Aleksa Žunjić Dragan Mićanović
Vića Radovan Vujović
Žika Bojan Dimitrijević
Tasa Vlasta Velisavljević
Milisav Nebojša Milovanović
Gazda Miladin Janoš Tot
Marica Lana Karaklajić
Đoka Aleksandar Radojičić/Milan Marić
Josa Božidar Zuber

 

Premiere: 9 April 2012

Duration: Approx. 1hr 45mins, no interval

 

Branislav Nušić    

THE SUSPICIOUS PERSON

 

Director                      Jagoš Marković

 

Set Designer               Jagoš Marković

Costume Designer      Stefan Savković

Speech                                    Ljiljana Mrkić Popović

Production Managers            Vladimir Perišić

Ana Ćurčin

 

Special Effects – Flying Milan Alavanja and Miroslav Vučković

Special Effects                        Srba Kabadajić

Work with Animals     Mirko Sirković

 

 

Cast:

Jerotije Pantić                        NEBOJŠA GLOGOVAC

Andja                                      JELISAVETA SABLIĆ

Aleksa Žunjić                          DRAGAN MIĆANOVIĆ

Vića                                        RADOVAN VUJOVIĆ

Žika                                        BOJAN DIMITRIJEVIĆ

Tasa                                        VLASTA VELISAVLJEVIĆ

Milisav                                               NEBOJŠA MILOVANOVIĆ

Master Miladin                      JANOŠ TOT

Marica                                               LANA KARAKLAJIĆ

Djoka                                      ALEKSANDAR RADOJIČIĆ

Josa                                        BOŽIDAR ZUBER

 

19.02.2018

The Broken Jug

Who smashed Frau Marthe’s jug? Who ruined young Eve’s reputation? Will her beloved Ruprecht have to go to war? Will the village judge Adam be able to find the answers to all these questions – especially on this particular day when he has suffered an injury to his head, the very day the upright court inspector from Utrecht is due to arrive? And where on Earth could he have mislaid his wig?

Kleist’s entertaining and many layered comedy is one of the most important and most popular works of German romanticism. It was directed by Igor Vuk Torbica and with the help of first class actors the director has infused it with a lot of courage and vitality, noble cynicism and modern day sense of humour. 

***

Kleist is close to popular theatre. The Broken Jug has the subtitle of «a merry play». If we view Kleist and the time he wrote in, alongside undisputed greats such as Goethe and Schiller, he actually represents a single counterpart and a single lone, individual voice that does not start from romanticist subject matters most of his contemporaries share, but rather takes a sideway, low road, from the people, a much more immediate path, I’d say. His starting point is dissecting the entire society: its lowest classes, as well as people from the very top. Thence there are peasants, and judges and inspectors from the capital etc. And this is what makes Kleist authentic.

(…) He said that the greatest danger from the law and prescribed norms lies exactly where there seems to be none. Exactly where we are so much at ease with them that we take them for granted and say, fine, that’s simply the way it is and is not to be questioned.

(Igor Vuk Torbica, taken from the theatre programme)

*

The play itself imposes the idea of illogically bringing together things that can’t be brought together, and thence our striving to preserve this potential and convey it on stage. This is an undefined space, a space where someone can sleep and where some chickens that Adam keeps can walk around, where one can curse, and eat and smoke and climb up on a table, sing, or hold trials. On the other hand, the matter of corruption and abuse of position is probably as old as mankind itself, so we tried not to set the action in an obvious/concrete time frame, even though, in terms of signification, the parallels to the present are clearly visible.

(Tamara Bijelić, taken from the theatre programme)

Premiere: 13/02/2015

Duration: 2 hrs, no interval

 

Heinrich von Kleist

THE BROKEN JUG

Der zerbrochne Krug

 

Translation Boško Petrović

Translation of the ending Maja Matić

 

Director Igor Vuk Torbica

 

 

Set Designer                                          Branko Hojnik

Costume Designer                                              Jelisaveta Tatić Čuturilo

Dramaturg                                            Tamara Bijelić

Music arrangements and music consultant  Marko Marić

Choreography and movement                    Staša Zurovac

 

 

LICA:

 

Adam, the village judge              NEBOJŠA GLOGOVAC

Walter, court counsellor              SVETOZAR CVETKOVIĆ

Mistress Marthe Rull              VLADICA MILOSAVLjEVIĆ

Licht, clerk                              LJUBOMIR BANDOVIĆ

Veit Tümpel, peasant               MARKO BAĆOVIĆ

Eve, her daughter                      JOVANA GAVRILOVIĆ

Ruprecht, his son                     MARKO JANKETIĆ

Margrit, servant                                    LAZAR ĐUKIĆ

19.02.2018

Hamlet

live, die, repeat…

The new production of William Shakespeare’s Hamlet at Yugoslav Drama Theatre is an expression of our desire, need as well as obligation to mark the 400th anniversary of the death of the greatest playwright the world has ever known.

According to Goran Stefanovski, one of the most prominent playwrights in the region and the man who adapted the play for the purposes of this production – Hamlet is an excellent vehicle for examining war fever, paranoia and the political situation in the world. The king is forever attending headquarter briefings. Troops are on the march; everyone is in the state of high alert, soldiers are standing guard. Camp fires and military uniforms…. foreign aggressors. Policemen patrol wearing bulletproof vests, emergency services. The madness of Prince Hamlet is not a private matter anymore; the whole country is a madhouse.

It is not the first time this has happened to Hamlet. He has been there many times before. And by the look of it, seems like it will carry on happening. Live, Die, Repeat…

Director Aleksandar Popovski, well known to our audiences for his directions at YDT – Candide or Optimism, Metamorphosis, has cast Nebojša Glogovac in the title role.

Premiere: 17 September 2016

Duration: 2hrs 7′, no intermission

 

William Shakespeare

HAMLET

Translated to Serbian by Živojin Simić and Sima Pandurović

 

Directed by Aleksandar Popovski

 

Adapted by                               Goran Stefanovski

Set design                                  NUMEN and Ivana Jonke

Costume design                          Maria Marković

Original score by                        Kiril Džajkovski

Video projection design                Lana Cavar and Timy Šarec

Choreographer                           Sonja Vukićević

Speech                                      Ljiljana Mrkić Popović

Light Design                           Dejan Draganov

 

CAST

Hamlet                                               NEBOJŠA GLOGOVAC

Gertrude                                 JASNA ĐURIČIĆ

Claudius                                 NIKOLA RAKOČEVIĆ

Ophelia                                  JOVANA STOJILJKOVIĆ

Polonius                                 GORAN ŠUŠLJIK

Ghost of Hamlet’s Father       VLASTA VELISAVLJEVIĆ

Gravedigger                            BOJAN DIMITRIJEVIĆ

Rosencrantz / Guard              MILOŠ SAMOLOV

Guildenstern / Guard             BORIS MILIVOJEVIĆ

19.02.2018

THE PHYSICIST AS NOVELIST a lecture by Alan Lightman, the author of Einstein’s Dreams

As an addition to the premiere performance of the play Einstein’s Dreams directed by Slobodan Unkovski produced by Yugoslav Drama Theatre, the Theatre will organize a lecture by Alan Lightman on the topic of correlation between art and science at the Ljuba Tadic Main Stage on 16th October at noon.

 

Mr. Lightman will discuss the differences and similarities in the ways that scientists and artists view the world, drawing on his own experiences as both a physicist and a novelist. Differences include the naming of things (science) versus not naming things (art), and the framing of questions with answers (science) versus questions without answers (art). Similarities include the search for beauty and truth, and the creative moment. Mr. Lightman will make reference to great scientists, such as Einstein and Feynman, and great writers, such as Rilke and Joyce. The lecture itself will be organized and promoted with the participation of Serbian Academy for Science and Art.

 

Alan Lightman is an American writer, physicist, and social entrepreneur. He is the founder of the Harpswell Foundation, a nonprofit organization whose mission is “to advance a new generation of women leaders in Southeast Asia.” Born in 1948, he was educated at Princeton and at the California Institute of Technology, where he received a PhD in theoretical physics. He has received five honorary doctoral degrees. Lightman has served on the faculties of Harvard and the Massachusetts Institute of Technology (MIT) and was the first person at MIT to receive dual faculty appointments in science and in the humanities. He is currently professor of the practice of the humanities at MIT. His scientific research in astrophysics has concerned black holes, relativity theory, radiative processes, and the dynamics of systems of stars. His essays and articles have appeared in the Atlantic, Granta, Harper’s, the New Yorker, the New York Review of Books, Salon, and many other publications. His essays are often chosen by the New York Times as among the best essays of the year. He is the author of 6 novels, several collections of essays, a memoir, and a book-length narrative poem, as well as several books on science. His novel Einstein’s Dreams was an international bestseller translated to more than 40 languages and has been the basis for dozens of independent theatrical and musical adaptations around the world. His novel The Diagnosis was a finalist for the National Book Award. His most recent books are The Accidental Universe, which was chosen by Brain Pickings as one of the 10 best books of 2014, and his memoir Screening  Room, which was chosen by the Washington Post as one of the best books of the year for 2016. Lightman is an elected fellow of the American Academy of Arts and Sciences.

23.11.2017

What Would You Give Your Life For?

We are examining in this show the most intriguing question of today – why and for what purpose are the people willing to give their lives for? From jihadists and kamikaze and the Nazi suicide squads and Tamil Tigers and other evil causes to the noble causes of the people who sacrificed their lives for freedom and equality. It is an energetic, dynamic and engaging show – contemporary and urgent.

The show starts with the story about Brahim Abdeslam, a terrorist, who after his rampage at the Paris restaurants came to the Boulevard Voltaire, entered the cafe Le Comptoir Voltaire, ordered a drink and pulled a trigger at his suicide vest injuring a number of the guests. There is some eerie symbolism in the fact that Abdeslam his killing spree ended in the street and café bearing the great philosopher’s name. The terrorist was completely opposite of Voltaire who fought for equality of all people and whose ideas enabled the immigrants like the Abdeslam family to come to France at all. From there, the show takes on a fascinating journey exploring the life of many real life people such as Edward Snowden, Stephen Biko, Svetozar Marković, Bobby Sands and the Irish hunger strikers; Magda Goebbles, Jan Palach; Gerda Tarro; Ivo Lola Ribar, Stefan Zwieg; Antoine Artaud, Jean Améry, Andreas Brevik and many others.

The audience is sitting mixed up with the actors, which gives to the show even more immediacy. The show develops a new type of the relation between the performers and spectators. The viewer is free to choose where to take a seat, what to watch and where to focus her/his attention. This gives much bigger freedom to the viewers and it is much more respectful towards the audience than in the traditional fixed-rows seating.

Haris Pašović used to be a director in residence at the Yugoslav Drama Theatre. His shows “Spring’s Awakening” by Wedekind and “Calling the Birds” based on Aristophanese’s play, were significant for the history of the YDT and ex-Yugoslav theatre.

The whole new generation of actors from Bosnia and Herzegovina and Serbia play in “What Would You Give Your Life For?” They come from East West Centre Sarajevo; Change Theatre Novi Sad; Bosnian National Theatre Zenica and Újvidéki Színház Novi Sad.

“What Would You Give Your Life For?” won the Best Show Award and the Best Ensemble Award at the 2017 Bosnian National Theatre Festival (Jajce); Best Ensemble Award at the 2017 Bosnian Drama Festival (Zenica) and also took part in the programs of 2016 International Theatre Festival MES Sarajevo; 2017 Serbian National and International Festival “Sterijino pozorje” Novi Sad; and Central European Forum Bratislava.

 

Actors (in alphabetical order)

Katarina Bradonjić,Amar Čustović,Lana Delić,Fedor Đorović,Sanela Krsmanović-Bistrivoda,Miloš Lazić,Peđa Marjanović,Mina Pavlica,Dražen Pavlović,Gabor Pongo,Mia Simunović,Ema Stojanović,Marko Vasiljević,Dušan Vukašinović,Nikola Živanović

23.11.2017

Duet for One

Guest performance by the National Theatre Sombor.

Stefani Abrahams  Ivana V. Jovanović

Alfred Feldman  Srđan Aleksić

23.11.2017

Logic of 29 February

An evening with Herta Müller, a Nobel Prize winner

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